“The Big Lebowski” (1998)

“Blade Runner 2049” (2017)

“Doubt” (2008)

“Fargo” (1996)

“The Hudsucker Proxy” (1994)

“Jarhead” (2005)

“Kundun” (1997)

“The Man Who Wasn’t There” (2001)

“No Country for Old Men” (2007)

“O Brother, Where Art Thou?” (2000)

“Prisoners” (2013)

“Revolutionary Road” (2008)

“A Serious Man” (2009)

“The Shawshank Redemption” (1994)

“Sicario” (2015)

“Sid and Nancy” (1986)

“Skyfall” (2012)

“True Grit” (2010)

Roger Deakins has been shooting movies for nearly four decades, and although he still doesn’t have an Oscar to his name, he is unquestionably one of the most iconic cinematographers the industry has ever seen. His work has defined the films of the Coen Brothers, Sam Mendes, and Denis Villeneuve, among many others, and he has perfected the art of the cinematic silhouette like no other DP in history.

Deakins is back on the big screen this month with “Blade Runner 2049,” which critics are already calling one of his greatest achievements to date. In celebration of the release, we look back at Deakins’ iconic career through 20 jaw-dropping shots.

This silhouette shot from the train robbery scene in “The Assassination of Jesse James by the Coward Robert Ford” ranks among Deakins’ finest images ever. He utilizes a stark contrast of light and a hazy grain to give Andrew Dominik’s elegiac Western the look and feel of a faded old photograph. IndieWire recently named Deakins’ work on “Jesse James” the best cinematography of the 21st century.

“Barton Fink” is a milestone in Deakins’ career, marking the first of 12 collaborations with Joel and Ethan Coen. The DP had to abandon the verité techniques of his early work and adapt to the Coen brothers’ methodical blocking and storyboarding process. The transition gave birth to one of cinema’s all-time great collaborations.

The famous dream sequence from “The Big Lebowski” is one of Deakins’ most playful and surreal sequences, highlighted by this under-the-leg shot of a bowling lane that more than earns its comparisons to Stanley Kubrick.

“Blade Runner 2049” is Deakins’ most recent effort, but it’s already being hailed by critics as one of his best. Warner Bros. wisely made this shot of Gosling’s silhouette against an orange haze one of the hallmarks of the film’s marketing. The shot comes from the movie’s Las Vegas section, in which Deakins and Denis Villeneuve drew inspiration from photos of a dust storm that hit Sydney in 2009.

Most people don’t necessarily associate closeups with Deakins’ work, which is what makes “Doubt” such a unique achievement in his career. The cinematography is entirely devoted to capturing the emotional dimensions of the actors’ faces. Even in establishing shots such as this, Deakins blocks and lights the frame so that the focus is still on Streep’s unrelenting scowl.

If “Barton Fink” and “The Hudsucker Proxy” suggested Deakins and the Coen brothers were on to something epic, then “Fargo” pretty much sealed the deal and put their teamwork in the cinema history books. The way Deakins plays with the sterile and boundless texture of snow is remarkable. He makes the characters simply pawns in the universe’s larger game.

“The Hudsucker Proxy” is hardly the Deakins/Coens collaboration that cinephiles remember most, but it’s still a visual knockout. This office shot tells you everything you need to know about the film’s corporate work enviornment.

Deakins has also proved to be a force of nature for Sam Mendes. “Jarhead” reaches a visual climax during a night scene in which the soldiers are framed against the flames of burning oil wells. The imagery is a direct contrast to the washed out, blinding wasteland Deakins shoots the daytime desert scenes in. He uses the flames against the dark night to create a hellish and nightmarish landscape.

Deakins’ third Oscar nomination following “The Shawshank Redemption” and “Fargo” came for his first and only work with Martin Scorsese. The religious and spiritual epic “Kundun” is marked by the way Deakins visualizes the relationship between man and nature. Epic landscape shots like this find Deakins channeling his inner David Lean.

Deakins proved he was a master of light and shadow in the Coen brothers’ Cannes-winning “The Man Who Wasn’t There.” This gorgeously-lit interrogation room shot is as close to “Citizen Kane” as Deakins’ work ever has been.

“No Country For Old Men” is perhaps the masterpiece of Deakins and the Coens’ work together. Most viewers remember the establishing shots of the desert, but Deakins’ work during the nighttime shootout/chase is also exemplary. He’s able to make the shooter feel so menancing just by the angle of his camera and the contrast of colors.

“O Brother, Where Art Thou?” is well known for being the first non-VFX Hollywood film to use a digital intermediate. Deakins spent 11 weeks digitally altering the colors to give the film a Dust Bowl-influenced, dried up palette. But for all those impressive landscape shots, this image of the ruthless Sheriff Cooley, the reflection of flames burning in his eye-glasses, might just be the best.

Denis Villeneuve has become Deakins’ latest regular collaborator. The duo started their relationship with the slow-burn kidnapping mystery “Prisoners,” which is defined by its moral grey areas. Villeneuve makes Paul Dano’s alleged kidnapper a victim and a villain for much of the runtime, a conundrum Deakins perfectly visualizes in stirring shots like this.

One of Deakins’ most underrated works is Sam Mendes’ dramatic powerhouse “Revolutionary Road.” He tells you everything you could possibly need to know about April Wheeler’s dissatisfaction with her domestic life in revealing shots like these. The stillness of Winslet against the out-of-focus movements of an angered Michael Shannon conveys the character’s emotional crisis.

The chalkboard in “A Serious Man” is easily a hallmark of Deakins’ 21st century cinematography. The Coens have placed Deakins’ camera in a strategic downward angle to belittle Larry Gopnik as much as possible. Deakins’ widescreen photography enhances the scope of the chalkboard, which is practically engullfing poor little Larry.

The over-the-head rain shot from “The Shawshank Redemption” might just be the most iconic Deakins shot in movie history. It’s no surprise the Frank Darabont-directed drama earned Deakins his very first Oscar nomination for Best Cinematography.

There’s a lot to admire in “Sicario,” the second collaboration between Deakins and Villeneuve, but no shot is greater than this image of the soldiers descending into the cartel tunnel during a particularly striking sunset. This shot might just be his silhouette masterpiece.

The verité style of Deakins’ early work is on full display in “Sid and Nancy,” where his camera mimics the dangerous and unpredictable energy of Sid Vicious’s relationship with Nancy Spungen. And yet Deakins still proved he knew how to craft a master shot for the ages in images like this. In one shot, Deakins captures the meloncholy and pain of trying to make it big in New York City.

The Shanghai fight scene in Sam Mendes’ 007 movie “Skyfall” is considered one of the highlights of Deakins’ career for good reason. It’s a mesmerizing sequence that turns a traditional action scene into something that resembles a neon-lit action ballet.

“True Grit” is perhaps the most traditional Western Deakins has ever made, and he puts his old-fashioned photography to the test in one gorgeous widescreen landscape shot after the next.